Aleksandar Ristić

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Film music in postmodernism can be seen as applied music that together with text and images creates a film narrative[1].  In relation to the theory at the very beginning of film art and the period of classical film theory, the postmodern era perceives all the disciplines that make a film as equally important. When we look at music in this context, we notice that directors have often used it as a narrative tool, but to decipher the semantic aspect of music, the recipient needs prior knowledge or an adopted musical cultural code. However, with music as an abstract art, it is very difficult to symbolize the idea of a film director in the right way, so for that reason, music as a symbol of the director's imagination can be interpreted differently.

[1] This applies to film music in general, but in the critical theory of film music and film in classical and "silent" films, music is seen as otherness and had a role in filling the frames.


film music, semiotics, cultural code, popular song, signifier

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